As they rock world waits on the probable announcement of a KISS / DEF LEPPARD summer tour, Paul Stanley is already doing press for his eagerly awaited autobiography, “Face The Music: A Life Exposed”. The memoir will be released on April 8 — two days before KISS is inducted into the Rock And Roll Hall Of Fame at Brooklyn’s Barclays Center.

Although Stanley has been vocal about his issues with co-founding members Ace Frehley and Peter Criss, he talks in the new book about the problems in keeping a partnership going with Gene Simmons over the decades, telling The Pulse Of Radio that it’s taken a lot of work to keep the pair moving forward and on the same page. “Oh, sure,” he said. “That over the years that’s been an ongoing theme in our relationship. But time is the ultimate judge, and the fact that we’ve been together, at this point for, 40 — my gosh — almost 44 years says volumes. There have been times where I’ve been very angry and resentful — and I’m not saying momentarily — I’m saying for long periods of time. But, in time, everything falls in place and you get a better perspective — hopefully. If you don’t expect from someone what’s not possible, then you won’t be disappointed.”

Stanley spoke frankly of a particularly icy moment in KISS history when, during the 1980s, Simmons seemed far more interested in an acting career than being the type of partner Stanley had come to rely on in KISS throughout the ’70s. “It’s much easier to do that when you know somebody else is gonna run with it. [Laughs] It’s much easier to abandon ship when you know that someone is going to bail water. That was more than annoying and hurtful. It was unjust, because to cap that off — he still wanted to be paid equally. Well, that’s insult to injury. Who gets paid for not doing their job? Doesn’t work like that.”

KISS will play a rare unplugged concert on April 3 at Highland, California’s San Manuel Indian Bingo and Casino. The gig is being dubbed “An Acoustic Evening And Stories With Kiss”, which recalls not only the band’s impromptu performances at past KISS conventions, but the original lineup’s legendary 1995 reunion as part of “MTV Unplugged”.

The acoustic show will be filmed by AMC as part of the upcoming reality show based around the AFL football team the L.A. Kiss, which is part owned by Gene Simmons and Paul Stanley.

Metalshrine: You’re just two years older than me and I just feel that there’s so much time left for you to put out cool music and have more cool stories. What made you [write your “My Bloody Roots” autobiography] now?

Max: Well, it was an idea that kinda came out of nowhere, actually. I thought it was a good time for it because of what happened with the Rock And Roll Hall Of Fame. What happened was that the notebook that I wrote SEPULTURA on for the first time, the schoolbook, we actually donated it to the Rock And Roll Hall Of Fame in Cleveland and they displayed it together with Dimebag‘s [PANTERA] guitar and a bunch of stuff from other metal bands. I think that kinda led to the idea of now being a good time to do a book. I came all this way from being a kid in Brazil to be part of the Rock And Roll Hall Of Fame. That’s a huge journey, but you’re right. There’s a lot more to be done and the story will continue for many more years, but we just felt that it would be good to tell the story right now and we had Joel McIver, who’s a really good writer. He approached us and offered to write the book for us and we saw what he’d done. I read parts of his METALLICA book, the Randy Rhoads book and the MOTÖRHEAD one and I really like how Joel writes. We started working on it and it’s out in Brazil, finally, and it will be out in the rest of the world in January 2014. It’s a very cool book with cool stories and a lot of great people involved. Dave Grohl [FOO FIGHTERS] wrote an amazing introduction. People in Brazil are really digging it. It was a good time for it now. I’m 44 and let’s just see what happens from now on.

Metalshrine: Did you sit down with Joel or was it mostly done via phone or Skype?

Max: We did most of it over the phone, but I sat down with Joel twice. We were touring a lot, but he came to two of the shows and we sat down during the day and we talked a lot. But a lot of it was done by phone. It was like an hour-and-a-half phone calls and three times a week. It was horrific and I did not look forward to them. It was, like, “Oh no, the phone call’s coming!” and I had to try and remember everything that happened during all these years. It was like therapy sessions.

Metalshrine: Were there things he brought up that you had forgotten about?

Max: Yeah. He was trying to get as much as possible. We ended up forgetting a couple of things, which is really amazing to me. For example, SEPULTURA toured with the RAMONES and that’s not in the book. Incredible that I left that I forgot about that. How could I? [laughs] It was just too many stories, too many things, but that’s why it’s so cool that Gloria [Max‘s wife and manager] has her blog that tells all these other stories that are not in the book. The making of the book was a long, long process and I think it took about three years all together. Gloria found a lot of cool pictures. There’s pictures of my grandfather and pictures of my great grandmother, who was an Indian, so there’s a really cool picture of her. Then there’s pictures of us as kids in Brazil and my mom and my dad and our teenage years and SEPULTURA. You see the whole madness developing. It’s really cool.

Metalshrine: This project you have together with Greg Puciato (THE DILLINGER ESCAPE PLAN), Troy Sanders (MASTODON) and Dave Elitch (ex-THE MARS VOLTA), have you recorded everything [for your debut album]?

Max: We’re still recording and we’re actually going to the studio right now. I have to finish two more guitars and we’re singing today, which is cool. All the drums are done, twelve songs. There are some great songtitles like “Set Fire To Your Flag” and “A Throat Full Of Broken Glass” and some other crazy titles. I think it’s gonna be really, really cool. It’s really energetic and there are all these melodic parts that troy’s gonne be singing and bring that kinda MASTODON vibe to it. It’s exciting and it’s a combination of all the bands involved. A little bit of DILLINGER, a little bit of MASTODON, a little bit of SOULFLY and a little bit of Dave playing as in THE MARS VOLTA. It doesn’t really sound like any of those bands but you can hear parts of them. A cool fact is that the three of us are gonna sing on every song and that’s gonna make the singing really exciting. It’s like a metal version of THE TRANSPLANTS. It’ll probably come out late next year, because [SOULFLY‘s new album] “Savages” is just coming out and we’re gonna let it take its course and we’re gonna tour for a long time. After that we’ll probably release the project.

Metalshrine: Are you doing a new CAVALERA CONSPIRACY album before or after the project?

Max: After. CAVALERA CONSPIRACY is taking quite a long break right now. It’s good though. That’s the way CAVALERA is created, no stress. There’s no pressure and we can do it anytime we want. It’s SOULFLY now and then the project and once that’s settled, we can work on the new CAVALERA CONSPIRACY album, which is probably gonna be towards the end of next year or beginning of the year 2015.

Metalshrine: Why don’t you just call it THE PROJECT?

Max: Yeah, we don’t have a name yet, but that’s a possibility. We’re totally running out of ideas.

Metalshrine: Who’s producing it?

Max: We have this guy Josh Wilbur. He produced LAMB OF GOD‘s last records and the last GOJIRA record. He’s a very cool guy and very young. He’s only like 35 and very energetic. He’s doing a great job so far and he’s been able to get a lot out from us and the music is really coming out great and powerful. I think it’s gonna be a great thing.

Support MOTÖRHEAD by hashtagging #InductMotorheadRRHOF and let the world know why YOU think that MOTÖRHEAD should be inducted into the Rock And Roll Hall Of Fame! Music celebs and bands like Duff McKagan, Anthrax, Danko Jones, Dio (on behalf of his camp), and more have already joined in supporting MOTÖRHEAD on Twitter, and you should […]

During a brand new interview with RollingStone.com, RUSH bassist/vocalist Geddy Lee was asked about Alex Lifeson‘s now-legendary Rock And Roll Hall Of Fame induction speech consisting entirely of “blah blah blahs,” in which the guitarist changed the tone of his voice to exhibit a range of emotions — with everyone understanding what he meant, especially when he “described” getting the call that the band was being inducted.

“I had no idea he was doing that,” Lee said. “Let me go on the record to say he didn’t tell us he was doing that. In fact, I know he had a whole other speech planned. Neil [Peart, drums] and I thought he had lost his marbles when he was talking. You can see the look on our faces behind him going, ‘What the fuck is he doing?’ And of course, we couldn’t see him act it all out. We just kept hearing, ‘blah blah blah blah blah.’

“I don’t know what his pure intent was, but I think it was more a knock on speeches, the whole process of the Hall Of Fame induction thing.”

Lee continued: “He’s a mental case. And he’s genuinely one of the funniest people you would ever meet in your life. But I wanted to kill him at the three-minute mark. Neil and I were threatening to knock him on the head and drag him offstage.”

Dave Grohl and Taylor Hawkins of FOO FIGHTERS inducted RUSH at the Rock And Roll Hall Of Fame. Grohl said in his induction speech, “From day one, the band built its following the right way. No hype, no (baloney), they did it from the ground up without any help from the mainstream press… Their influence is undeniable and their devoted fan base is only rivaled by the GRATEFUL DEAD. Look at you people, all of you people, right here! And their legacy is that of a band that stayed true to themselves no matter how uncool they may have seemed to anyone.”

Lee was asked on the red carpet if he thought the acclaimed documentary on the band, “Beyond The Lighted Stage”, played a role in the groundswell of support for the band’s induction into the Hall Of Fame. “Oh, I think it probably did have an effect to a certain degree because of the way the filmmakers put that story together,” he said. “I think it really showed what a vast and diverse audience that we do have and what the effect of our music has been on young players. And one of the criteria of the Hall Of Fame is influence, so I think it’s easy to see that in that film.”

Peart said that the band’s fans had a personal stake in seeing the band inducted. “The thing is, with our fans, is that we grew up together,” he said. “We always say ‘the soundtrack of your life’ is a phrase that I love, but it has been that case and we have evolved naturally in our music and our lyrics and our songs and all that, of our experiences from our past and our present as grown-ups, and we’ve expressed all that through our songs. So a lot of them have grown up with that in a very real, true way, so they share it and they feel like they’re part of the team, and our team should win.”

Lee thanked “the most passionate, incredible fan base around the globe …for not only supporting and encouraging our musical progress over the years, but for the insistence of their voices, which has most certainly led us to this evening.”

If there’s a true maverick of the underground aside from Mike Patton, no doubt it’s Hank 3. While his bloodline indirectly calls upon him to stand worthy of the Grand Ole Opry, if you know anything about the Hank Williams lineage, you know the youngest would just as soon level the place down to cinders until they reinstate has grandfather into their hall of fame.

Frankly, everything Hank 3 has done in his crust-punk-doom-country-collided career has been a veritable spit upon the pavement of the Opry, be it his involvement in ASSJACK and SUPERJOINT RITUAL to his own spread of entities ranging from HANK III to 3 BAR RANCH to ATTENTION DEFICIT DOMINATION and now his latest venture, the simply-named 3.

By no means to be confused with the pop-tinted prog unit of the same name, 3 comes to play this year as an outlet for Hank 3 to shove out a pair of simultaneous albums, the cowpunk slapper, “A Fiendish Threat” and a pure country double album, “Brothers of the 4×4″. Recording both albums in a span of four months with the same stable of like-minded backup players, “A Fiendish Threat” is the album that will gain the bigger attention.

Hank 3 describes “A Fiendish Threat” as an album that took some years off of him and for certain, there’s a refreshing vigor punching out of it. Hank 3 fields the guitars and drums on this thing and yowls through a voice filter, giving the new joint a hellbilly punk-industrial texture to it. All dashed by devilish fiddling from David McElfresh and Billy Contreras plus stand-up bass thwacking from Zach Shedd. Most of Hank‘s guitars are acoustic, which lends a cheeky if pretty damned impressive air to the punk feel of the record carrying hints of the MISFITS, RAMONES, SUBHUMANS and STIFF LITTLE FINGERS.

Many of the songs here speed like a thoroughbred stud in fear of having its nuts shorn off, in particular the galloping duo of “There’s Another Road” and “Broke Jaw”. The latter is the faster of the pair and before you’re settled into the breezing chord switches, an out-of-nowhere slide guitar solo is heaped in, carrying a hallucinogenic echo you’ll feel punch drunk from. While you’re hanging dazed, stand by for some monster fiddles in the midst of it all. Then there’s the full-on blitzes of “Face Down” and “Full On”, songs that fly at such a crazy fast pace it’s a wonder Hank and Zach Shedd didn’t break their raped strings in the process. Considering most of these songs were done in a single take, the chop-slop feel of “Face Down” and “Full On” are remarkable in their fierce execution.

Some of the songs of “A Fiendish Threat” are on the mid-tempo side, but they carry serious clout. “Watchin’ U Suffer” is the most ass-kicking number on the record with the nastiest groove, the fiercest beat and violins that taunt behind the knuckle-brawling heft of the song. “Breakin’ Free” is wrangled in the same manner, albeit there’s a wicked breakdown segment leading into another warped slide guitar wave, followed by a sedate section of chimes and then another razzing fiddle rip. A presumed personal anthem, Hank 3 bellows on this track about busting out of music conventions and (assumedly) those who continue to dog him for not remaining pure country. The finale of “Breakin’ Free” is set up with a downhome country swill in the flavor of Hank the elder that’s torched in the final seconds. You just know the grandson is, in his own way, saying “fuck you” to the Opry committee, much as he always has. In direct answer to “Breakin’ Free” comes the uppity “New Identity” and “Fight My Way”, both of which address Hank‘s domestic hullabaloos as much as his musical controversies.

“Different From the Rest” is Hank 3‘s definitive self-ode as much as it’s one for the entire Eighties punk and hardcore ethos he draws from on “A Fiendish Threat”. It has a decided MISFITS slide that burps straight out of the psychobilly shuffle of “Can I Rip U” in the beginning of the album, the latter complete with hilarious distorted response calls.

Not as over-the-top zany as the death grind scorching overtop the cattle calling loops in 3 BAR RANCH, “A Fiendish Threat” yells giddyap out of the chute and the listener is expected to grab on for life beyond a mere eight seconds. Go ahead and cheat with both hands. By the time you reach the swarming fiddles nattering throughout the heavier tones of “Feel the Sting” and the doom-flavored ballad of “Your Floor” (where Hank shoves out a broiled Ozzy impression and the fiddles are mutated into something befitting of a nasty peyote trip), you’ve been flung through quite a ride which prompts a few laughs and a lot of slams.

For a reported ADD-dyslexic, Hank 3 is one of the most prolific artists of this generation. Whether or not you appreciate his weird ways, there’s no denying he has balls of steel. Hank mockingly hollers through his voice scrambler that he’s a big disgrace on the title track. As if. More musicians should follow this guy’s lead and stand true to themselves. A Grammy seems as likely as an induction into the Grand Ole Opry for Hank 3. What’s coolest about the cat is that every move he makes is done against those grains with a callused middle finger in the air.

METALLICA performed its classic song “Enter Sandman” earlier today (Sunday, September 22) at Yankee Stadium in New York to honor retiring Yankees pitcher Mariano Rivera prior to their game against the San Francisco Giants — who happen to be METALLICA‘s hometown team.

Rivera, who’s calling it quits after nearly two decades with the Yanks, has been coming out of the bullpen to close out games for many years to the tune of METALLICA‘s “Enter Sandman” playing on the stadium’s P.A. system.

According to the Daily News, METALLICA frontman James Hetfield gave a shout-out to Rivera, “This one’s for you Mariano,” before singing the song’s famous first line, “Say your prayers little one…”

Check out photos of METALLICA‘s appearance from Getty Images. Professionally filmed video footage can be seen below (courtesy of MLB.com).

Rivera was presented with a METALLICA gold record by the Rock And Roll Hall Of Fame in Cleveland on May 13 for “Enter Sandman”.

Said Rivera: “I’ve got a gold record, brother. Without even singing, I have a gold record.”

The presentation was made by Indians team president Mark Shapiro and the Rock And Roll Hall Of Fame president Greg Harris.

The pitcher said: “I think it was well done. Whoever thought of the idea of giving me a gold record with the song ‘Sandman’, it was great. I appreciate that and I know it will have a special place in my house.”

“Enter Sandman” was featured as the opening track and lead single from METALLICA‘s eponymous 1991 album. The song was produced by Bob Rock, and the music was written by Kirk Hammett, Lars Ulrich, and James Hetfield. Vocalist and guitarist Hetfield wrote the lyrics, which deal with the simplest concept of a child’s nightmares.

The “Enter Sandman” single was certified gold in the United States for sales in excess of 500,000 copies. Acclaimed by critics, the song is featured on all of METALLICA‘s live albums and DVDs released after 1991 and has been played live at award ceremonies and benefit concerts. It is considered to be METALLICA‘s signature song to the general public.

METALLICA‘s self-titled “black album” has sold more than 16 million copies in the U.S., according to the Recording Industry Association of America (RIAA).

METALLICA performed at Yankee Stadium once before, nearly two years ago in September 2011 when the “Big Four” tour with SLAYER, ANTHRAX and MEGADETH stopped there.

METALLICA performed its classic song “Enter Sandman” earlier today (Sunday, September 22) at Yankee Stadium in New York to honor retiring Yankees pitcher Mariano Rivera prior to their game against the San Francisco Giants — who happen to be METALLICA‘s hometown team.

Rivera, who’s calling it quits after nearly 20 decades with the Yanks, has been coming out of the bullpen to close out games for many years to the tune of METALLICA‘s “Enter Sandman” playing on the stadium’s P.A. system.

According to the Daily News, METALLICA frontman James Hetfield gave a shout-out to Rivera, “This one’s for you Mariano,” before singing the song’s famous first line, “Say your prayers little one…”

Rivera was presented with a METALLICA gold record by the Rock And Roll Hall Of Fame in Cleveland on May 13 for “Enter Sandman”.

Said Rivera: “I’ve got a gold record, brother. Without even singing, I have a gold record.”

The presentation was made by Indians team president Mark Shapiro and the Rock And Roll Hall Of Fame president Greg Harris.

The pitcher said: “I think it was well done. Whoever thought of the idea of giving me a gold record with the song ‘Sandman’, it was great. I appreciate that and I know it will have a special place in my house.”

“Enter Sandman” was featured as the opening track and lead single from METALLICA‘s eponymous 1991 album. The song was produced by Bob Rock, and the music was written by Kirk Hammett, Lars Ulrich, and James Hetfield. Vocalist and guitarist Hetfield wrote the lyrics, which deal with the simplest concept of a child’s nightmares.

The “Enter Sandman” single was certified gold in the United States for sales in excess of 500,000 copies. Acclaimed by critics, the song is featured on all of METALLICA‘s live albums and DVDs released after 1991 and has been played live at award ceremonies and benefit concerts. It is considered to be METALLICA‘s signature song to the general public.

METALLICA‘s self-titled “black album” has sold more than 16 million copies in the U.S., according to the Recording Industry Association of America (RIAA).

METALLICA performed at Yankee Stadium once before, nearly two years ago in September 2011 when the “Big Four” tour with SLAYER, ANTHRAX and MEGADETH stopped there.

Metallica frontman James Hetfield has looked back on 2000′s infamous Napster debacle in a new interview, offering some insight into how the episode – in which the band attempted to sue the file-sharing company – and how it changed the metal icons’ attitudes to sharing music.

“In our lives, as you get older, you’re able to get past certain roadblocks mentally and friendship-wise, like things with Megadeth, people from our past,” Papa Het explains. “They become a little less potent. They become less of a source of hatred or whatever. They affect you less and at the end of the day you’re just kind of realising that everyone is looking out for the best interest, hopefully, for the world.

“[Lars Ulrich] was wanting to do something. He had a vision and had no idea what the consequences would be. At the end of the day, we’re all adults and you sit down and you talk and you go, ‘Hey, when I did this, that happened.’ We did the same and let’s move on from there. I think we’ve learned a lot, like from obviously the Some Kind Of Monster movie and the Rock And Roll Hall of Fame. Seeing all these bands that can’t even show up and play together because they’re arguing about something that happened 20 years ago and they can’t celebrate a great moment, or create a new moment in history. Life’s too short for stuff like that.”

We chat to Metallica in our immense new issue, out right now and also packing interviews with Volbeat, Satyricon, The Devil Wears Prada and many more, plus free Metallica posters and stickers, a free Metallica: Through The Neverfilm guide, a free CD, a free Scar The Martyr EP from certain shops and much, much more. Bargain, basically. Get it now!

CANNIBAL CORPSE will wrap up its 25th-anniversary celebrations for 2013 with a pair of shows in Florida, which has served as the band’s base of operations since relocating to Tampa from Buffalo, New York in 1994. The concerts are scheduled for November 29 in Ft. Lauderdale at the Culture Room and November 30 in Tampa at the Brass Mug. Tickets will go on sale this Friday at Ticketmaster.com for the Culture Room.

Comments CANNIBAL CORPSE founding member and bassist Alex Webster: “We are very excited to be doing these shows in Florida this November.

“We formed the band in the first week of December back in 1988 so these shows will be happening almost exactly 25 years after our formation. It will be great to celebrate our band’s anniversary in the state that helped put death metal on the map. Also, we are very happy to be able play Ft. Lauderdale to make up for the show we missed there in June. And I think fans in both cities will be happy when they see the ticket price for these shows!”

Metal Blade Records has been releasing one picture disc a month from the band’s expansive catalog of releases (“Eaten Back To Life”, “Butchered At Birth”, “Tomb Of The Mutilated”, “The Bleeding”, “Vile”, “Gallery Of Suicide”, “Bloodthirst”, “Gore Obsessed”, “The Wretched Spawn”, “Kill”, “Evisceration Plague”, “Torture”). A total of 12 pictures discs will be released, covering all of the band’s full-length studio albums, some of which have never been released on picture disc.

Earlier this year, it was announced that CANNIBAL CORPSE was selected for induction in the Buffalo Music Hall Of Fame as a member of the Class of 2013. CANNIBAL CORPSE is the latest addition to the Hall Of Fame, which also includes Buffalo natives the GOO GOO DOLLS, Billy Sheehan, 10,000 MANIACS, and many more. The Class Of 2013 will be inducted into the Buffalo Music Hall Of Fame at its 30th-anniversary induction gala, which will be held October 3 at the Tralf Music Hall in Buffalo.

In a brand new interview with CraveOnline.com, METALLICA frontman James Hetfield spoke about how far the digital music industry has come since 2000 when METALLICA launched legal action against Napster, claiming that the pioneering music file-sharing service was illegally allowing users to download METALLICA tracks without paying royalties to the band. Although the case was settled out of court, 300,000 users were banned from Napster as a result and METALLICA‘s image took a tremendous beating in the eyes of music fans.

METALLICA drummer Lars Ulrich, who was the main spokesperson for METALLICA in the Napster battle, has since become friends with Napster co-founder and current Spotify investor Sean Parker and recently attended Parker‘s wedding.

Asked what changed over the last few years, Hetfield replied: “I don’t know, kind of like in our lives, as you get older, you’re able to get past certain roadblocks mentally and friendship-wise, like things with MEGADETH, people from our past,” Hetfield explained. “They become a little less potent. They become less of a source of hatred or whatever. They affect you less and at the end of the day you’re just kind of realizing that everyone is looking out for the best interest, hopefully, for the world.

“[Lars Ulrich] was wanting to do something. He had a vision and had no idea what the consequences would be.

“At the end of the day, we’re all adults and you sit down and you talk and you go, ‘Hey, when I did this, that happened.’ We did the same and let’s move on from there.

“I think we’ve learned a lot, like from obviously the ‘Some Kind Of Monster’ movie and the Rock And Roll Hall of Fame. Seeing all these bands that can’t even show up and play together because they’re arguing about something that happened 20 years ago and they can’t celebrate a great moment, or create a new moment in history. Life’s too short for stuff like that.”

Ulrich later admitted that he wished he had dealt with the Napster situation differently.

In a 2003 interview with Launch, Lars about the band’s battle with Napster, “Most of the time, it’s like a bad dream, like what the fuck was that? [Several] years later, it’s like did that really happen? We went from being somewhat well-respected, well-liked, and then I woke up one day and all of a sudden I was the most hated man in rock ‘n’ roll. It was like, huh? Me? What did I do wrong? I’m one of the good guys. That was all kind of weird.

“If you look at our history, we’ve always been pretty protective of our own shit. When anybody got too close or fucked with our shit, we always took action.

“In retrospect, I’m proud of what we did. I really felt sideswiped on that one. In my own little ignorant world, I didn’t see it coming. I was completely ignorant and unaware of the magnitude of this issue for people. I was just sitting there in my own little selfish world going, ‘I’m going to protect METALLICA. Don’t fuck with METALLICA.’ Then (explosion sound), ‘You’re pro-record company, you’re greedy!’

“I’m not pro-record company. We invented being anti-record company. We told our record company to go fuck themselves before anyone else. Stop.

“It was a very surreal thing, because it was so hard to connect what I read about myself and METALLICA, it was so abstract to what was on my radar about my own reality. People going, ‘You’re a really greedy little man.’ It was like, what are you talking about? We’ve been giving shit away for years. We want to be the ones giving it away, not someone else.

“I’m proud of the stance we took. It was a very tough time. It was a much tougher time, because in the middle of that you have to put your best game face on. It was difficult. A lot of that shit hurt and it was very bewildering because it was difficult to connect it to your own reality. For better or worse, it got a good debate started.

“In retrospect, I’m not claiming any sort of victory — who gives a shit about that? — I think more people are starting to realize, not that we were right, but this is an issue that is changing the face of everything that is going on. Not only the music world, but the film world is next. What better way to deal with it than at least educate people about it. If nothing else, I look back at the six months in 2000 as the first step in the education.”